The droll comedy-drama that is George Frideric Hndels Serse (1738) unfurls a tangled romantic daisy chain involving the rival loves of King Serse and his brother, Arsamene, for the beautiful Romilda. On the distaff side, theres the competing love of Romilda and her sister, Atalanta, for ... Read review
Music / Performing Arts - Original Language: English - Classification: Exempt - Starring: Teatro Alla Scala, Riccardo Muti, Daniela Dessi, Delores Ziegler, Alessandro Corbelli, Jozef Kundlak, Adelina Scarabelli, Claudio Desderi
Production Year: 1985 - Music / Performing Arts - Director: John Schlesinger - Original Language: German - Classification: Exempt - Starring: Kiri Te Kanawa, Anne Howells, Aage Haugland, Barbara Bonney, Royal Opera House Orchestra, Georg Solti
Advantages: Hndel's music; Rasmussen, Hallenberg, Piau, Bayrakdarian; Rousset and Les Talens Lyrique. Disadvantages: Cold production design; occasionally slow staging.
...the rival loves of King Serse and his brother, Arsamene, for the beautiful Romilda. On the distaff side, theres the competing love of Romilda and her sister, Atalanta, for Serses brother, Arsamene. Of this confused quartet, only Romilda and Arsamene actually love one another.
The titular Serse refers to the real-life Persian ruler, Xerxes I (Serse I), described by the Greek historian Herodotus in his Histories, Book VII. The libretto ... ...gently mocking song (... un Serse mirate, che dun ruvido tronco acceso sta; ... behold Xerxes, all afire with passion for a coarse tree trunk).
In fact, Romilda and Arsamene have previously agreed to meet at the summerhouse, but the intrusion of Serse ruins their plans. Serse blithely orders Arsamene to arrange the marriage, unaware of Arsamenes romantic liaison with Romilda. (Serse has already forgotten his previous betrothal ... more
The droll comedy-drama that is George Frideric Hndels Serse (1738) unfurls a tangled romantic daisy chain involving the rival loves of King Serse and his brother, Arsamene, for the beautiful Romilda. On the distaff side, theres the competing love of Romilda and her sister, Atalanta, for Serses brother, Arsamene. Of this confused quartet, only Romilda and Arsamene actually love one another.
The titular Serse refers to the real-life Persian ruler, Xerxes I (Serse I), described by the Greek historian Herodotus in his Histories, Book VII. The libretto to Serse (likely written probably by Hndel himself and perhaps an unknown collaborator, and drawn from two previous libretti, respectively by Nicol Minato and Silvio Stampiglia) combines both the comic and the dramatic. This new mixing of styles broke off from tradition, which required either pure buffa or purely seria elements in one work. The change didnt seem to please Hndels English audiences, as Serse saw no more than five performances in the composers lifetime. The work remained forgotten for almost two centuries until it was resurrected and staged once more in the 1920s!
Serse offers much pleasing music that is sung to an amusing storyline. This notable production dates from June 2000 and was staged at the Dresden Semperoper as part of the Dresden Music Festival. it offers the special treat of having three notable mezzo-sopranos in the cast, together with two fine sopranos, who all outshine the two male singers cast in lesser roles.
CAST
Character, description --- Performer (voice)
Serse, King of Persia --- Paula Rasmussen (mezzo-soprano) Arsamene, Serses brother, in love with Romilda --- Ann Hallenberg (mezzo-soprano) Amastre, heiress of Kingdom of Tagor and betrothed to Serse, disguised as a man --- Patricia Bardon (mezzo-soprano) Ariodate, a prince, Serses general --- Marcello Lippi (baritone) Romilda, his daughter, in love with Arsamene --- Isabel Bayrakdarian (soprano) Atalanta, her sister, secretly in love with Arsamene --- Sandrine Piau (soprano) Elviro, a funny fellow, servant to Arsamene --- Matteo Peirone (bass)
Ludwigshafener Theaterchor Les Talens Lyriques (on period instruments) Music Director: Christophe Rousset Stage Director: Michael Hampe TV Director: Philip Behrens
STORY AND PERFORMERS
SERSE
Serses an eccentric - not quite off the deep end, but strange enough to draw interest. Hes a spoiled, vain, peevish, and haughty child with a keen sense of entitlement. The problem lies in his possession of absolute power over his subjects, who include his own hapless brother, Arsamene, and Romilda. Entranced by Romildas singing at court, he virtually decrees she become his future wife, despite her gently mocking song (... un Serse mirate, che dun ruvido tronco acceso sta; ... behold Xerxes, all afire with passion for a coarse tree trunk).
In fact, Romilda and Arsamene have previously agreed to meet at the summerhouse, but the intrusion of Serse ruins their plans. Serse blithely orders Arsamene to arrange the marriage, unaware of Arsamenes romantic liaison with Romilda. (Serse has already forgotten his previous betrothal to Amastre, Princess of Tagor, whom we will meet later.) Arsamene claims that Romildas unroyal pedigree makes her unfit for the queenly post, but Serse is not to be denied. Impatient with Arsamenes hesitation, he decides to tell Romilda his feelings himself, singing the delightfully jaunty Io le diro che lamo (I shall tell her of my love).
However, Romildas continued, adamant refusal will cause Serse to mete out death sentences (hes a tyrant, remember?) to Romilda as well as Arsamene later on. If you think about it, Serse already has a foremost objet damour that plane tree encased in a glass-and-steel cage. Perhaps hed like Romilda be his possession, too in another metaphorical, glass-and-steel cage.
Paula Rasmussen plays Serse with a bored, aloof air, and her residual feminine ways gives the character an added, interesting layer of gender ambiguity. Ms Rasmussens vocalisation remains splendid throughout. Listen as she launches ever so gently into that famous aria extolling the virtues of the plane trees shade, Ombra mai fu (Never was natures own shade). From a sotto voce start, her voice gradually crescendoes (grows louder), its tight vibrato and metallic sheen gleaming in that well-loved air. Much later, after Romilda declares herself steadfast in her love for Arsamene despite the latters supposed rejection of her, Ms Rasmussen releases Serses rage in a venomous fury in Se bramate damar chi vi sdegna / vu sdegnarvi, (If you still love the man who rejects you / I too should reject you), then softens her tone to gentleness on the line, ...but know not how (ma come non so.). Her brilliant, crystalline sound and steely timbre hint at a high-voltage powerline beneath that cool and steady tone. Why Ms Rasmussen remains virtually absent from the worlds opera houses, recital halls and recording studios is a puzzlement to this listener.
ARSAMENE
Poor Arsamene, always getting the short end of the stick. When Serse learns of Arsamenes love for Romilda, he banishes him from court, thinking that Romilda will now be free to love him back. Arsamene not only loses his love; he will also be tricked into thinking that Romilda now loves Serse and no longer cares for him, thanks to the shenanigans of Romildas sister, Atalanta.
The fine singing actress Ann Hallenberg plays the frustrated Arsamene with much believability and liveliness, even if we still feel Arsamenes pain (in contrast with British countertenor Christopher Robson's dour and unpleasant Arsamene in the English National Opera's 1985 version available on DVD). Ms Hallenbergs beautiful, silky mezzo boasts an admirable technical security and evokes a slightly darker shade, equalling Ms Rasmussens vocal in elegance. And thanks to clever makeup, both Ms Rasmussen and Ms Hallenberg easily pass for the brothers Serse and Arsamene, respectively.
AMASTRE
A foreign princess abandoned by Serse after their betrothal, Amastre comes to Serses palace disguised as one of the Kings soldiers in order to stalk... ahemfind out what her fianc has been up to. Hearing Serse warbling passionately of a consuming love, she thinks it is she of whom he sings, but learns soon enough that its someone else Romilda. Amastre promptly vows to seek vengeance upon Serse for being scorned thus, but its revenge with a twist she will be avenged only if Serse returns her love, and all past hurts will then be forgiven. Patricia Bardon fleshes out the underwritten part of Amastre, playing her with a comic blend of aggression (as when she threatens her male companion with bodily harm the fellow seems to allegorically embody her hopes about love) and despair (she constantly tries to kill herself, but is foiled by Arsamenes servant, Elviro).
ROMILDA
Romilda sings many sorrowful songs about her absent lover, while rejecting all romantic overtures by Serse. Playing the melodramatic role straight, soprano Isabel Bayrakdarian gives a fine account of Romildas lovelorn situation and does a wonderful job overall. Her clear, bright vocal evokes a bittersweetness in N men con lombre (Not even with a shade of unfaithfulness), which reasserts her unwavering fidelity to Arsamene.
When Atalanta, using the intercepted letter from Arsamene, deceives Serse into thinking that Arsamene no longer loves Romilda, it fits in perfectly with Serses own designs on Romilda, and he shows Romilda the letter, leaving Romilda devastated by her sisters supposed deceit and her lovers alleged betrayal. Ms Bayrakdarian becomes more forceful yet still vulnerable in the aria of heartbreak and confusion she sings then, gelosia quella tiranna que tanto affana lanima mia (The tyrant that afflicts my soul is jealousy herself), as she starts to feel the pangs of jealousy.
ATALANTA
Romildas sister, Atalanta, is farce to Romildas melodrama. It matters none in her unending pursuit of Arsamene that she isnt even sure about her feelings for him, or that Arsamene himself doesnt love her! Atalanta hijacks the letter from Arsamene to Romilda, borne to the palace by Arsamenes servant, Elviro. Waving the letter about, she tells Serse that Arsamene only pretends to love Romilda, but its really her, Atalanta, whom Arsamene loves, encouraging Serses liaison with Romilda so Arsamene can then be hers.
Hndelian soprano Sandrine Piau shows off her delightful comic gifts as the manipulative and coquettish Atalanta, using large, clownish gestures and expressions when singing her campy arias. In Per rapir quell tesoro Un cenno leggiadretto (To seize the treasure A graceful little gesture), which portrays her scheme to sabotage the Romilda-Arsamene romance, her big, bright and warm vocal is deployed flawlessly, with playful gusto and comic gags while donning her outfit in carefully choreographed stages. She flaunts her impeccable coloratura and a few stratospheric notes that, accompanied by rolling eyeballs, veer into the tongue-in-cheek realm of satire. Alas, one of Atalantas airs in the latter half of Act 2, Voi mi dite che non l'ami (You tell me not to love him), gets cut from this version, and we lose the more thoughtful side to this fun and ditzy character, as revealed in this poignant air.
ARIODATE
Romilda and Atalanta are the daughters of Serses general, Ariodate. Ariodate is pivotal in Act 3s plot turn, when he misunderstands Serses words about a man of Serses kin who is destined to become Romildas husband (sposo del nostro sangue, a piacer vostro distiniamo a Romilda). Ariodates irrevocable actions will cease Serses hopes of ever marrying Romilda, and this frustrated desire will set the petulant King on a death-sentencing rampage meted out to his brother and to Romilda, not to mention his own precious plane tree! Baritone Marcello Lippi sings Ariodate with a slightly fuzzy edge, but hes jolly good fun, and adds a touch of corny but endearing humour in his solo scene, Arsamene, altri non It has to be Arsamene!.
ELVIRO
Elviro, Arsamenes servant, also provides the operas funny bits. Serving as Arsamenes messenger, he pretends to be a flower vendor whilst approaching the palace. Bass Matteo Peironi provokes welcome chuckles and belly laughs with his amusing Laurel & Hardy schtick with Atalanta, which includes making awful, slapsticky singing noises come out of his throat.
ALLS WELL THAT ENDS WELL
After a lovers quarrel, Arsamene and Romilda will be happily wed (due to Ariodates mistake), but then theres still Serses coming wrath to deal with. Ultimately, Amastre will turn out to be the linchpin for righting everything in the end. When she reveals her true identity to Serse, the King has a (miraculously) rapid change of heart, and he turns humble and compassionate. In no time hes offering apologies to all for his previous cruelties. He also decides to accept Amastres offer of forgiveness and love, in a most capricious development that strains credibility but the story must end on a happy note, no matter how belief-defying. The scene concludes with a hopeful symbol of love, perhaps a new, small, bonsai version of the plane tree that is brought in to replace the burnt one.
THE MUSIC, ABOVE ALL, IS WELL-SERVED BY CHRISTOPHE ROUSSET ET LES TALENS LYRIQUES
'Serse' boasts one of Hndel's more inspired compositional creations, comprising a whole string of memorable arias with brief prefatory recitatives. Da capo arias still predominate, but the repeats are relatively fewer than in his other works. Hndel was a really fine tunesmith who incorporated irresistible musical hooks in many pieces. They're tuneful and possess such enduring qualities with a deep lustre that doesnt dull with the passing centuries (unlike many facile hit songs of today whose initial attractiveness fade with the changing seasons).
Despite a few cuts, there remains a wealth of lovely music here. It all gets both a spirited and a delicate treatment from French conductor Christophe Rousset leading the period-instrument ensemble, Les Talens Lyrique. The elegance, magnificence, poignancy and humour in Hndel's music come through in the sterling performances rendered by this orchestra, who give the singers strong, solid support.
COLD SETS AND OCCASIONALLY SLOW STAGING
The entire production (designed by Carlo Tommasi) uses a monochromatic and cold scheme of black, white and silver, with materials ranging from metal to silk that grace everything in sight. The sun doesnt seem to shine upon this greyish set, even in its outdoor settings. Between scene changes, the singers remain upstage before two dark green walls that meet in the centre to close off the main stage area behind them.
Although the black-and-white theme brings a touch of elegance, it comes at the expense of a human feel. Profuse thanks are due this excellent singing cast, who infuse the cold and heavy, industrial-looking, black-and-white, glass-and-steel staging with some warmth, liveliness and humour. (Even the strange version of the plane tree here stands stonily in silvery-grey, without the slightest tinge of a refreshing green, poor thing.)
No Persian griffin appears here (a facsimile made a dramatic entrance in the 1985 English National Opera version), but there's a hint of the Persian in the sets, which include a pair of miniature sculpted elephants that bear Serse onstage from the wings, ready to review his army. Serse's military dress shifts between black and white, with loads of silvery rope braids, cummerbunds and epaulets, reminiscent of late 19th century colonial officer garb. The Ludwigshafener Theaterchor appear as the army and the people of Serse, dressed variously in Near Eastern styles that include fez-like headgear and caftans in black and silver for Serses subjects. Similar costumes are done up in solid, steel grey for Serses royal guard.
Contrary to current trends, Michael Hampe's stage direction avoids the outrageous and provocative bits that have almost become hip and de riguer in many opera productions today (especially in Germany and Austria). Nothing will give offense here, unless a viewer feels unease at the gender-bending trouser roles of Serse and Arsamene (in which case he or she should leave operas alone altogether!). The productions biggest weakness lies in its unchanging rhythm, with rare jolts in the pace of action to cut the occasionally plodding pace (as in the explosive depiction of an outraged Serse setting his beloved plane tree ablaze in Act 3).
ALL IN ALL...
In summary, then, Id highly recommend this DVD to any Hndelian and Baroque music lover, despite a few, trivial weaknesses, for all the reasons stated above. Id still recommend this over the English National Operas version from 1985 despite its many merits unless you really must have your libretto in English (without subtitles) and you really love Ann Murray as Serse (her wobbly vibrato even then doesnt sit well with this listener), dont mind the sad sack Chris Robson as Arsemene, and would really love to see a mock-up of Hndels statue at the Vauxhall Gardens reproduced on the stage. ==============
Note to the Ciao police: This article has been posted elsewhere by the author in modified form.
==============SERSE Dramma per musica in tre atti George Frideric Hndel Libretto after Xerse by Nicol Minato, revised by Silvio Stampiglia HWV 40
A Dresdner Musikfestspiele Production (Recorded at the Semperoper, Dresden, June 2000)
DVD FEATURES:
Special Features: None Video: Standard 1.33:1 Color Audio: ITALIAN: Dolby Digital 5.1 or PCM Stereo Subtitles: English, Spanish, French, Italian, German
Studio: Naxos Production Year: 2000 Release Date: 01/08/2005
Length: 160 mins Rating: NR Number of Discs: 1
List Price: GBP24.99 (can be purchased at much less than list price everywhere, it seems!)